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| A reference to a person a place, an event, or another work of literature |
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"against the man" or "against the person". A feneral category of fallacies in which a claim or argument is rejected on the basis of some irrelevant fact about the author of or the person presenting hte claim or argument. Typically, this fallacy involves two steps. First, an attack against the character of the person making the claim, her curcumstances, or her actions is made (or the character, circumstances, or actions of the person reporting the claim). Second, this attack is taken to be evidence against the claim or argument the person in question is making (or presenting). This type of "argument" has the following form: 1. Person A makes claim X 2. Person B makes an attack on person A 3. Therefore A's claim is false |
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The repetition of a word or phrase at the beginning of successive phrases, clasues, or lines |
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| A character who causes conflict |
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| opposition, or contrast of ideas or words in a balances or parallel construction (e.g. "Not that I loved Ceasar less, but that I loved Rome more" Shakespear, Julius Caesar) |
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| Direct address, usually to someone or something that is not present |
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| A literary term to express details |
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| Connectives are omitted between words, phrases, or clauses |
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| a type of poetry, distingushed by having a regular meter, but no rhyme |
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| Figure of association in which a highly unusual or outlandish comparison is made between two things. (e.b. Honey, you are a regular neclear meltdown. You'd better cool off.) |
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| meaning "purgation"; describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his poetics, Aristottle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion and also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitations and grailties. Ultimately, however, both these negative emotions are purged, because the tragic protagonist's duffering is an affirmation of human values ather than a despairing denial of them. See also Tragedy |
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| method used by a writer to develop a character. The method includes 1. Sowing the character's appearance, 2. displaying gthe character's actions, 3. revealing the characters' thoughts, 4. letting the character speal, and 5. getting the reactions of others |
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| A figure of speech by which the order of the terms in the first of two parallel clauses is reversed in the seond. This may involve a repetition of the same words (e.g. "Pleasure's a sin, and sometimes sin's a pleasure"--Byron) |
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| arrangement of words, phrases, or clauses in an order of ascenging power. Often the last emphatic word in one phrase or clause is repeated as the first emphatic word of the next |
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| argues from the general to a specific instance. The basic idea is that if something is true of a class of things in general, the truth applies to all lefitimate members of that class |
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| the words an sentences that the character speaks. The word and senteces are put inside the quotation mark |
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| Word choice 1. high-academic, formal, 2. middle-conversational, 3. low-informal, break grammar rules, slang language |
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| designed to teach an ethical, moral, or religious lesson |
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Irony that is inherent in speeches or a situation of a drama and is understood by the audience but not grasped by the characters in the play |
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| when a character suddenly experiences a deep realization about himself or herself; a truth which is grasped in an ordinary rather than a melodramatic moment. |
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| an appeal ot the credibility of the authorl appeal to the ethics of the writer |
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| in the analogy, two objects (or events), A and B are shown to be similar. Then it is argued that since A has property P, so also B must have property P. An analogy fails when the two objects, A and B, are different in a way which affects whether they both have property P. |
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| deliberate exaggeration, overstatement |
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| moving from specigic observations to brauder generalizations and theories. (e.g. That boy is smar; therefore, all boys must be smart) |
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outting the characterlas in a sentence, the purpose is to slow the sentence down, creates suspent (e.g. A jedi night you are not) |
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| side by side comparision; opposite ideas present in the same sentence 9e.g. it was the BEST of times, it was the WORSTof times) |
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| an exaggeration that makes the situation smaller than it really is |
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| an appeal for the logical structue of the work |
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substitution of one word for another which ist suggest (e.g. The SAILS cossed the ocean. (sails instead of ship with sails)) |
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| logical fallacy; a non-sequitur begins with the presentation of two or more statemtns called premieses. Premise A could be "God is love," Premise B could be "love is blind," Premise C states that "Ray charles is blind," The non-sequitur conclustion based on these premises would be "therefore, Ray Charles is God." |
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| a statement that seems to be self-contradicting, but , in fact is true |
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| an appeal to the emotions of the audience |
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| a balance of two or more similar words, phrases, or clauses. The application of parallelism in sentence construction improves writing style and readability |
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| connectives are always supplied between words and phrases or cluases (e.g. he ran and jumped and laughed for joy) |
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| committed when it is concluded that one event causes another simply because the proposed cause occurred before the propesed effect. More formally, the fallacy involces convluding that A cuases or caused B because A ovvurs before B and there is not sufficient evidence to actually warrant such a claim |
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| presents the real word, writer write the story to find a point |
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| any question asked for a purpose other than to obtain the information the question aks (e.g"Why are you so stupid?") |
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| artistic, literacy, and intellecutal movementthat originated areound the middle of the 18th century in Western Wurope, and gained strength during the industical Revolution. The movement stressed strong emotion as a source of aesthetic experience, placing new emphasis on such emotions as trepidation, horro, and the awe experienced in confronting the sublimity of untamed nature. |
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| uses a negative to bring out hte positive, dconstructive criticm |
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| a subgenre of the Gothic writing style, unique to american literature. like its parent genre, it reliex onsupernatual, ironic, and unusual events to guide the plot. Unlike its predecessor, it uses these tools not for the sake of suspense, but to explore social issues and reveal the culrural character of the American South. |
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| a kind of logical argument in which one proposition (the conclusiont) is inferred from two others (the premises) of a certain form |
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| mentioning a part, but meaning the whole (e.g. lend me your ears) |
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| sentence strucure - simple, compound, complex; declaratice, interrogativel imperative, exclamatory, fragment |
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| repetition of an idea in a different word, phrase, or sentence (e.g. "With malice toward none, with charaity for all" -Lincoln, second inaugural) |
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| an alternative view of the tragic hero, especially in renaissance British literatuem is one in which he or she possesses a tragic virtue (as opposed to the classical idea of hamartia). |
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| an American literary, political, and philosophical movement of the early nineteenth centure, centered around Ralph Waldo merison, Other important transcendentialist were Henry David Thoreau, Margaret Fullerm Amos Bronson alcott, Frederic Henry Hedge, and Theodore Parker |
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| two different words linked to a verb or an adjective which is stricly appropriate to only one of them. |
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